Jazzmag#2 Jazznewznsmail




« As the final chapter of this year’s Jazzdor edition, an appearance by a young Parisian group, trumpeter Antoine Berjeaut’s Wasteland, was programmed. Trumpeter/flugelhornist Berjeaut, who also included live electronics, gathered a first-class lineup around him, with the multifunctional keyboardist Jozef Dumoulin on Fender Rhodes, bassist Stéphane Kerecki and drummer Fabrice Moreau for their collaboration with American vocalist/poet Mike Ladd, now residing in Paris For sure, it was a non-opportunistic choice to extend and challenge the realms of « jazz. » Ladd, a lively and cliché-free performer with sharp timing and forceful phrasing, created an imaginary space with telescoping personal and collective memories. It was quite intriguing how Ladd’s moving vocal discourse was carried and intensified by a sound tapestry very much originating from the musical concept of trumpeter Jon Hassell, which was executed here with grandeur. A great closing from a fresh young peripheral perspective. »

henning Bolte



London Jazz News
Review June 2013
« The band has a distinct Miles / Silent Way edge to it, but also goes its own way. They all have a good grip of electronics: Antoine Berjeaut, the bandleader has a strong presence on trumpet, flügelhorn and live
electronics. Jozef Dumoulin on Fender Rhodes is a classy player: he produced a synthed guitar solo of which Allan Holdsworth would have been proud ; bassist Stéphane Kerecki is just a very good, utterly musical bass player, and has got even better, and drummer Fabrice Moreau is creative, forceful, empathetic, who needs
more? Mike Ladd is not unknown: he has made a well-received album with Vijay Iyer (…) The narrative he was gong through tonight, rooted in 1920’s history, racial politics in the US, with parallels being made with the Soviet Union went over my head, but I probably needed to concentrate more. The back projected low-fi films were effective and atmospheric. But above all Ladd has a compelling presence on stage. His voice is capable of displaying vulnerability and menace, both with an unerring sense of musical and linguistic timing. It’s about time he came back to the UK. This show is strong and would work well in the Jazz Café or Village Underground, if a promoter out there is feeling courageous. I looked in vain for a recording at the end of the show, but I shall keep looking, because I’d like to hear
more, and I don’t think I was alone in thinking that. »



« Tres belle musique, rythmes inatendus, phrases incroyablement douces et spirales, originale et réussi »
retransmis en direct, 06/01/12
Yvan Amar, Jazz club de France Musique




“Ce jeune trompettiste, digne du plus grand intérêt, présentait une création combinant jazz, hip-hop et électro, en présence de deux invités chevronnés, Julien Lourau (sax) et Mike Ladd (slam). Une de ces accolades musicales et humaines impromptues, dont le public de Jazz à Vienne a le privilège.”
l’Huma 13 Juillet 2012



“J’aimerais insister sur de vrais découvertes comme Antoine Berjeaut qui présente ici un projet qui fait le lien entre Jazz, Hip hop et musiques electroniques, je suis impatient d’entendre ce qui va en sortir.”
Mai 2012



“Une pièce qui gagne progressivement en intensité, qui sait de mieux en mieux titiller votre sensibilité, avant que de s’estomper, doucement. Un beau thème, une belle formation que celle réunie par Antoine Berjeaut, un beau moment de musique.”


Deutshlandradio Kultur, June 2013
« Der Abend wird komplettiert von der Deutschlandpremiere des Trompeters Antoine
Berjeaut und seinem Quartett. Durch den amerikanischen Poeten Mike Ladd, der
seine Zelte inzwischen in Paris aufgeschlagen hat, kommt noch eine weitere
literarische Komponente hinzu. Dessen zwischen Jazzgesang und Rap vorgetragene
Poetry erinnert zuweilen an den unvergessenen Gil Scott Heron, führt diese Tradition
aber auch eindrucksvoll in den unruhigen Zeitgeist der Gegenwart. »